The new Mumiy Troll album is entitled "Pirate Copies." Although a clear reference to copyright abuse, that same phrase becomes a talking point for several recent publications and their collective view of the past.
A few days ago, the Belarusian magazine Experty.BY announced a series of awards, dedicated to the best domestic music of last year. A wide range of prizes were involved, defined in terms of format or genre.
Various inevitabilities gather strength around three releases from Moscow, St. Petersburg, and Minsk. In the face of diminishing liberties, a certain presentism emerges, celebrating the here and now.
Four new publications, stretching from provincial Belarus to Vladivostok, look askance at social existence. The more crudity and/or banality it manifests, the more self-reliance comes to the fore.
An air of social disappointment hangs over these recordings, made primarily in Saint Petersburg. As adult experience appears to offer little, the importance of prior cultural landmarks only starts to grow.
A couple of Saint Petersburg projects find common philosophical ground in two areas. Both are saddened by the woeful potential of actuality - and then turn to their hometown for some time-honored forms of reverie.
Kobra are a young and promising trio from Saint Petersburg: Pavel Doronin, Denis Korobeinikov, and vocalist Anna Lichko. Their first collaboration together evokes a specifically northern fantasy.
The thirty-ninth release from FFM Records was both conceived and recorded in Saint Petersburg. Four brief songs speak to the ongoing, even counter-productive effort needed to keep aspirations alive.
The Los Angeles label Not Not Fun has just published a compilation of six female electronic artists. Resident in both Russia and Ukraine, they offer a peaceful, creative alternative to recent events.
As the Subwise label in Saint Petersburg releases a new compilation album, celebrating ongoing success in the North, a new project emerges from Surgut. Both foreground the value of joint effort.